George Clinton
(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )

Parliament: Osmium (1970), 6/10
Parliament: Up For The Down Stroke (1974), 6/10
Parliament: Chocolate City (1975), 5/10
Parliament: Mothership Connection (1975), 7/10
Parliament: The Clones of Dr Funkenstein (1976), 7/10
Parliament: Funkentelechy Vs The Placebo Syndrome (1977), 7.5/10
Parliament: Motor-Booty Affair (1978), 6.5/10
Parliament: Gloryhallastoopid (1979), 5/10
Parliament: Trombipulation (1980), 5/10
Funkadelic: Funkadelic (1970), 6.5/10
Funkadelic: Free Your Mind (1970), 6/10
Funkadelic: Maggot Brain (1971), 7/10
Funkadelic: America Eats Its Young (1972), 5/10
Funkadelic: Cosmic Slop (1973), 6/10
Funkadelic: Standing On The Verge Of Getting On (1974), 6/10
Funkadelic: Hardcore Jollies (1976), 6/10
Funkadelic: One Nation Under A Groove (1978), 7/10
Funkadelic: Uncle Jam Wants You (1979), 6.5/10
Funkadelic: The Electric Spanking of War Babies (1981), 5/10
George Clinton: Computer Games (1982), 6/10
George Clinton: You Shouldn't (1983), 5/10
George Clinton: Some Of My Best Jokes Are Friends (1985), 4/10
George Clinton: R&B Skeletons (1986), 4/10
George Clinton: The Cinderella Theory (1989), 5/10
George Clinton: Hey Man (1993), 6/10
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George Clinton, ex barbiere del New Jersey, era attivo gia` a meta` degli anni '60 (I Wanna Testify, 1967; All Your GOodies Are Gone, 1967) con uno stile che, forte degli esperimenti coevi di James Brown, per meta` assorbiva elementi funk e per meta` elementi psichedelici. Nel 1967 Clinton si era trasferito nel ghetto di Detroit: scriveva liriche per la Motown e andava ai concerti hippie degli Mc5 e degli Stooges. Da questa basilare schizofrenia derivarono i due complessi che Clinton diresse contemporaneamente a partire dal 1967: i Parliaments (che debuttarono con Testify, 1967, e poi accorciarono il nome a Parliament) e i Funkadelic, rispettivamente musica vocale e musica strumentale, sostanzialmente mainstream pop (non troppo diverso da Kool And The Gang) e contro-cultura freak.

I primi, infatti, significano Tamla-soul mutante in power-rock a ritmo da discoteca, copertine seducenti, oscenita`, e titoli parodistici.

Parliament's early albums were: Osmium (Invictus, 1970), a confused but electrifying (and lysergic) mess of styles, the funkier Up For The Down Stroke (1974), where william Collins basically imported James Brown's style, and Chocolate City (1975).

La loro arte e' ben rappresentata da Tear The Roof Off The Sucker e P-Funk, su Mothership Connection (1975), l'album con Maceo Parker e Fred Wesley ai fiati (entrambi veterani di James Brown), da Your Sexy Body, su The Clones of Dr Funkenstein (1976), il manifesto mistico-cosmico del "pure funk" (o "p-funk") di Clinton, dall'intero album Funkentelechy Vs The Placebo Syndrome (Casablanca, 1977), in particolare Flash Light e Bop Gun, da Aqua Boogie (1979), su Motor-Booty Affair (1978), il loro album piu` elettronico e sperimentale, e da Theme From The Black Hole, su Gloryhallastoopid (1979). La loro musica e` tutt'altro che amatoriale: il tastierista Bernie Worrell (inventore delle linee basse di sintetizzatore) e il bassista William "Bootsy" Collins sono da annoverare fra i grandi maestri di quegli strumenti. La loro saga termino` con Trombipulation (1980).

I Funkadelic, invece, allestiscono una concitata "profana rappresentazione" della vita urbana, via le blues jam di Hendrix, soprattutto in Music For My Mother (1969) e Mommy What's A Funkadelic sul primo album omonimo del 1970, via Sly Stone, il jazz-rock, il gospel, l'easy-listening, la fantascienza, l'horror e l'eroina.

Funkadelic's subsequent albums were a mixed bad: Free Your Mind And Your Ass Will Follow (1970) was a psychedelic mess, but Maggot Brain (1971) was all over the stylistic spectrum (Maggot Brain, Wars Of Armageddon, Super Stupid), while America Eats Its Young (1972) was a (relatively) serious political concept, but Cosmic Slop (1973), Standing On The Verge Of Getting On (1974), the live Let's Take It To The Stage (1975), the compilation of rarities Tales of Kidd Funkadelic (1976), and Hardcore Jollies (1976) were full of silly songs and pointless jams. Then, suddenly, Funkadelic found a magic equilibrium between funk, rock and disco on One Nation Under A Groove (1978), containing another classic, One Nation Under A Groove. Uncle Jam Wants You (1979), with Knee Deep, and the ebullient The Electric Spanking of War Babies (1981) ended the Funkadelic saga. Music For Your Mother (1992) collects all the Funkadelic singles.

Il culto dei fan crebbe in proporzione alla volgarita` e all'eccentricita' dei suoi show (musicisti in mutandine, sigarette di marijuana, simulazioni porno) e alla varieta` delle fonti sonore, che spaziavano con disinvoltura dall'heavy-metal al vaudeville.

La Bootsy's Rubber Band, saga surreale con filastrocche (letteralmente) per bambini del bassista "spaziale" William "Bootsy" Collins (ex James Brown), venne aggiunta nel 1976. I loro album saranno: Stretchin' Out in Bootsy's Rubber Band (1976), Ahh The Name is Bootsy Baby (1977), con The Pinocchio Theory, Player of the Year (1978), This Boot Is Made For Fonk-N (1979).

Piano piano le defezioni portarono a una moltitudine di act bizzarri, tutti riconoscibili per l'ereditario piglio sacrilego, che crearono un po' di confusione: P-Funk All Stars, Parlet, Brides Of Funkenstein, Jimmy G. And The Tackheads, etc. E in parallelo, sulla falsariga dei loro archetipici strumentali acid-funk il repertorio si accrebbe di gag come Shit Goddam, il dub Free Your Mind, il tribalismo corale di Atomic Dog (1983), il soul tropicale a piu` voci di Double Oh-oh (1985), sempre piu` ipnotiche e goliardiche, fino alle danze poliritmiche e multi-mixate Pleasures Of Exhaustion (1985) e Mixmaster Suite (1986).

Santone dell'anarchia musicale, dell'eccesso goliardico e del nonsense sonoro, Clinton ha ammucchiato alla rinfusa le armonie dei gruppi vocali di colore, i glissando hendrixiani, le parodie zappiane, il glam-rock, la paranoia percussiva di James Brown, e torrenti di energia sessuale.

After a long hiatus, Clinton returned with The Cinderella Theory (1989), that contains the Prince-esque ballad Why Should I Do U Out, and Hey Man (1993), containing Paint the White House Black and Rhythm and Rhyme, supported by a cast of younger musicians who learned from him. TAPOAFOM (1996) and Dope Dogs (1999), the albums credited to the P-Funk All Stars,

Bernie Worrell has released solo albums that roam haunting jazz soundscapes: Funk Of Ages (1990) and the two Bill Laswell-influenced trances, Backtronic Science (1993) and The Other Side (1994). Improvisczario (2007) was a showcase for Worrell on different keyboards but the funk-jazz-rock style was outdated.

William "Bootsy" Collins has released mediocre solo albums, starting with Ultra Wave (1980), The One Giveth The Count Taketh Away (1982) and What's Bootsy Doin'? (1988). Lord Of The Harvest (Zillatron, 1994), featuring bassist Bill Laswell, keyboardist Bernie Worrell, guitarist Buckethead, and two rappers, is perhaps the wildest. Bootsy's Rubber Band released the double-disc Blasters Of The Universe (1994). Collins returned with the solo Fresh Outta 'P' University (1997).

Clinton's P-Funk Allstars returned with the double-CD album How Late Do You Have 2BB4UR Absent (2005).

Bootsy Collins' Tha Funk Capital Of The World (2011) was a funk primer for the new generations, including collaborations with Bobby Womack, Sheila E and George Clinton.

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